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Longitudes cuts across Latitudes’ projects and research with news, updates, and reportage.

Cover Story—March-April 2020: The Bolós Cabinet

Latitudes' homepage www.lttds.org

The March-April 2020 monthly Cover Story ‘The Bolós Cabinet’ is now live on our homepage: www.lttds.org 

‘‘To name, to own. Critique of taxonomic practice’: Agustín Ortiz Herrera’s current project focuses on the modern system of naming and classifying organisms which was first superimposed onto the natural world in 1735 with the advent of Carl Linnaeus’s "Systema Naturae". Tutored by Latitudes as part of Barcelona Producció 2019–2020, Agustín’s research has to date involved visits to study centres in Uppsala and London, alongside investigations around the notion of ‘queering nature’.”

Continue reading
→ After April 2020, this story will be archived here

Cover Stories' are published on a monthly basis on Latitudes' homepage featuring past, present or forthcoming projects, research, texts, artworks, exhibitions, films, objects or field trips related to our curatorial activities.



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Latitudes's Mariana Cánepa Luna concludes her role as Secretary of the Board of Hangar


Hangar Centre de Producció i Recerca d'Arts Visuals, Barcelona

Between the end of 2015 and the end of 2019, Mariana Cánepa Luna of Latitudes has served as Secretary and Board member of the Fundació Privada AAVC, the entity governing Hangar Centre de Producció i Recerca d'Arts Visuals in Barcelona

The members of HANGAR’s Board represent a range of professionals from the fields of contemporary visual arts and research and serve for periods of 4 years. They meet twice a year in ordinary sessions and in extraordinary circumstances whenever necessary. An Executive Committee meets on a monthly basis. The members of the Board do not receive any remuneration for the performance of their duties.

Besides the responsibility of overseeing the governance of the institution, during these past four years, the (initially 17 and in the last year 9) members have been responsible for the renewing two terms of the Programme Committee and in 2017 resolving the open call for a director position, selecting Lluís Nacenta as the new head of the institution (2018–22). 

In early 2019, the board decided to exceptionally extended its mandate another year and met on a monthly basis in order to define the election process for the new board starting February 2020An initial pool of twenty-eight candidates (artists and art professionals) was put forward for consideration to the Plataforma Assambleària d'Artistes de Catalunya (PAAC) and in their December 2019 assembly, the members voted for nine candidates following criteria of parity and a majority of artists. 

The newly elected board for the 2020–2024 term is: Pilar Bonet, Fito Conesa, Jordi Ferreiro, Dora García, Ingrid Guardiola, Hiuwai Chu, Mafe Moscoso, Laura Llevadot and Anna Pahissa.



Kudos to each of the board colleagues for their strong sense of fellowship throughout these past four years: president Martí Anson; vice-presidents Josep Manuel Berenguer, Álex Nogueras, Sonia Fernández Pan; members Pau Alsina, Mar Arza, Roger Bernat, Luz Broto, Jorge Luis Marzo, Martina Millà, Julia Montilla, Quim Packard, Joan Maria Soler, Alicia Vela, Marc Vives, Rubèn Verdú. Extended thanks to the legal advisors of the foundation, Jaume and Guillem Nadal, and of course to the two directors of the Foundation, Tere Badia (2009–17) and Lluís Nacenta (since 2018). 

Between June 2010 and December 2013, and together with Max Andrews, Latitudes was part of the Programme Committee alongside the artists Dora García, Jordi Mitjà and Joan Vilapuig and the curator Alex Mitrani. This group was responsible for selecting applicants via open calls for production grants and residencies abroad, as well as in selecting foreign artists to come to Hangar, and ultimately, followed up the work of the artists during their long or short-term residencies.







RELATED CONTENT
  • Visita de la Comisión de Programas de Hangar a los estudios de los artistas residentes 24 April 2013
  • Performance 'The Museum of Incest' de Simon Fujiwara, 19 Septiembre, 19h en Hangar 15 Septiembre 2009
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Vistas de la exposición ‘COLAPSO. Máquina célibe’ de Joan Morey en el Casal Solleric, Palma de Mallorca


La exposición individual ‘COLAPSO. Máquina célibe’ de Joan Morey que puede verse en el Casal Solleric, Palma de Mallorca, hasta el 3 de mayo 2020. Fotos: Latitudes.
Panel introductorio de la exposición y créditos, abajo panel y cartelas del programa de audio.


COLAPSO. Máquina célibe’ es la primera retrospectiva de Joan Morey (Sant Llorenç des Cardassar, 1972) en su Mallorca natal. Consiste en una revisión de seis grandes proyectos, cuya documentación y otros objetos se expone junto con ocho piezas sonoras. Las doce majestuosas salas dieciochescas de la planta noble y el patio columnado del Casal Solleric acogen este conjunto de materiales, voces y cuerpos que, con su colapso, ofrecen una panorámica de los últimos diez años de la carrera artística de Morey. 

La exposición es una adaptación de ‘COLAPSO’, un proyecto en tres partes que tuvo lugar simultáneamente en el Centre d’Art Contemporani de Barcelona - Fabra i Coats, el Centro de Arte Tecla Sala de L’Hospitalet de Llobregat y la antigua cárcel Modelo de Barcelona entre 2018 y 2019.

 Entrada a la exposición en la planta noble. Acceso a la exposición en orden cronológico.

Entrada al proyecto COS SOCIAL en la planta noble. Acceso a la exposición por orden cronológico inverso.

Poster del proyecto ‘COS SOCIAL. Lección de anatomía’ (2017).

Performance para pantalla ‘COS SOCIAL. Lección de anatomía’ (2017). 

(Arriba y abajo) Sección dedicada a ‘COS SOCIAL. Lección de anatomía’ (2017). Al fondo sala dedicada a ‘TOUR DE FORCE’ (2017).

Sección dedicada a ‘COS SOCIAL. Lección de anatomía’ (2017).

En la sala vermella (sala roja) se exhibe la mesa de disección utilizada en la película ‘COS SOCIAL. Lección de anatomía’ (2017) y la vestimenta de la única actriz.


La muestra de este nuevo capítulo, ‘COLAPSO. Máquina célibe’, se organiza en torno a vitrinas y pantallas de vídeo dispuestas a modo de sarcófagos o relicarios. Ocupa un lugar destacado la performance para la pantalla ‘CUERPO SOCIAL. Lección de anatomía’ (2017), así como una selección de cinco proyectos anteriores, producidos entre 2007 y 2017 y desarrollados mediante el lenguaje artístico de la performance. Además, el patio del Casal Solleric alberga un programa continuado de obras de audio: grabaciones de lecturas realizadas en vivo en el marco de performances o bien utilizadas como bandas sonoras de exposiciones previas.


Inicio cronológico de la muestra: sala dedicada al proyecto ‘POSTMORTEM. Projet en sept tableaux’ (2006–7).

Sala dedicada al proyecto ‘POSTMORTEM. Projet en sept tableaux’ (2006–7) y conexión a la derecha con la sala dedicada a ‘OBEY. Humillados y ofendidos’ (2007–9).
Sala dedicada a ‘OBEY. Humillados y ofendidos’ (2007–9).
 
Detalle de los contenidos presentados en la vitrina del proyecto ‘OBEY. Humillados y ofendidos’ (2007–9).

Sala dedicada a ‘GRITOS Y SUSURROS. Converses amb els radicals’ (2009) y al fondo proyección del mismo proyecto (abajo).

Video proyeccion del proyecto ‘OBEY. Humillados y ofendidos’ (2007–9). 

Sala dedicada al proyecto ‘IL LINGUAGGIO DEL CORPO’ (2015).
Detalle de la vitrina del proyecto ‘IL LINGUAGGIO DEL CORPO’ (2015).

Sala dedicada al proyecto ‘TOUR DE FORCE’ (2017). 

Sala dedicada al proyecto ‘TOUR DE FORCE’ (2017).

Sala dedicada al proyecto ‘TOUR DE FORCE’ (2017). 

Contenidos de una de las dos vitrinas dedicadas a ‘TOUR DE FORCE’ (2017).


Video teaser del proyecto ‘TOUR DE FORCE’ (2017).

Sala dedicada al proyecto ‘COS SOCIAL’ (2017).

CONTENIDO RELACIONADO:
  • Documentación fotográfica de COLAPSO;
  • Archivo Wakelet redes sociales;
  • Joan Morey awarded the Botín Foundation's International Visual Arts Grant, 22 July 2019
  • Profile – ‘Joan Morey’, THE SEEN—Chicago’s International Journal of Contemporary & Modern Art, Issue #8, April 2019, pp 100–113. 
  • Exposición de Joan Morey ‘COLAPSO. Máquina célibe’ en el Casal Solleric, Palma de Mallorca, 31 enero–3 mayo 2020, 15 January 2019 
  • Performance ‘COLLAPSE. Schizophrenic Machine’ at the former prison La Model, Barcelona 21 January 2019
  • Selección de reseñas, videos y entrevistas (31 Diciembre 2018)
  • December 13, 2018, 7pm: Performance reenactment of "TOUR DE FORCE. El cos utòpic" (2017) by Joan Morey 10 December 2018
  • Pía Cordero, "COL·LAPSE, o l’avenir il·limitat de l’obscenitat", www.nuvol.com, 6 Desembre 2018
  • November 29, 2018, 5–8pm: Performance reenactment of "IL LINGUAGGIO DEL CORPO. Pròleg" (2015-16) by Joan Morey 26 November 2018
  • November 15, 2018, 7 pm: Performance reenactment of "BAREBACK. Fenomenología de la comunión" (2010) by Joan Morey 12 November 2018
  • October 25, 7pm: Performance reenactment of "GRITOS Y SUSURROS" (2009) by Joan Morey 22 October 2018
  • October 11, 2018, 7pm: Performance reenactment of ‘LLETANIA APÒRIMA’ [APORIC LITANY] (2009) by Joan Morey 8 October 2018
  • Performance programme in the context of Joan Morey's exhibition ‘COLLAPSE. Desiring Machine, Working Machine’ 24 September 2018
  • Maria Palau, "Contra l'abús de poder", El Punt Avui, p. 32, 23 Setembre 2018 (Catalan)
  • NOTA DE PRENSA: ‘Joan Morey. COLAPSO’, diversos espacios, Barcelona, 20 septiembre 2018–13 enero 2019, 19 September 2018
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Reduce Art Flights website refreshed

https://reduceartflights.lttds.org/

The Reduce Art Flights website has had a long-overdue refresh (the first version is from 2008 and originally at reduceartflights.com): it now features a new exhibition history, bibliography and a transcription of the interview with RAF's instigator, the late artist Gustav Metzger (1926–2017).

RAF / Reduce Art Flights is a campaign which upholds that the art world—artists, curators, critics, gallerists, collectors, museum directors, etc.—could or should diminish its use of aeroplanes.

“...it’s a nudge in the ribs as it were to remind people there is a problem and let’s talk about this problem of endless flights here and there. What particularly annoyed me originally was the statement by the organisers of the [2006] Basel art fair that when it comes to taking the fair to Miami, which was planned, everybody could get a 50% reduction on the aeroplane flight. I thought that is just over the top, pumping up the possibility of aeroplane use. So for me, this has very much to do with a rejection of mass transport through the air of course, and through cars and buses, and also a criticism of the art world where everything is out for maximizing everything and in every direction.” — Gustav Metzger

The site is maintained by Latitudes as a resource for the initiative and as a location for future elaborations of its aims.


The website in 2008.
Pages of the exhibition catalogue ‘Greenwashing. Environment: Perils, Promises and Perplexities’, Fondazione Sandretto Re Rebaudengo, edited by Latitudes & Ilaria Bonacossa, published by The Bookmakers Ed., Turin, 2008, ISBN: 978-88-95702-01-8.

RELATED CONTENT:
  • 'THE LAST MONITOR' AVAILABLE NOW! #5 issue of the 10 Latitudes-edited newspapers for 'The Last Newspaper' exhibition, New Museum 30 October 2010 
  • Reduce Art Flights leafleting campaign by Gustav Metzger at the Serpentine Gallery, London 21 October 2009
  • Gustav Metzger's RAF / Reduce Art Flights campaign initiative changes URL to www.reduceartflights.lttds.org 28 January 2009
  • “Greenwashing update: RAF / Reduce Art Flights. Gustav Metzger interview”, Latitudes blog post, 6 March 2008 
  • Exhibition ‘Greenwashing. Environment: Perils, Promises and Perplexities’, Fondazione Sandretto Re Rebaudengo, 2008. 
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Cover Story—February 2020: Carioca Incidents

Latitudes' homepage www.lttds.org

The February 2020 monthly Cover Story ‘Carioca Incidents’ homepage: www.lttds.org 

“My idea is to take a stroll around the natural wonders of the city, its colonial past, imperial Brazil … and end on the beach.” Artist Daniel Steegmann Mangrané’s succinct recipe for the latest instalment of Incidents (of Travel), narrated by curator Catalina Lozano, led to a startlingly heady stew of a day in and around Rio de Janeiro.”

→ Continue reading
→ After
February 2020, this story will be archived here

Cover Stories' are published on a monthly basis on Latitudes' homepage featuring past, present or forthcoming projects, research, texts, artworks, exhibitions, films, objects or field trips related to our curatorial activities.

RELATED CONTENTS

  • Archive of Monthly Cover Stories
  • Cover Story—January 2020: Safeguarding Gestures 2 January 2020
  • Cover Story—December 2019: Cover Story—December 2019: Curating in the Web of Life 3 December
  • Cover Story—November 2019: ‘Fighting fires in Valencia: the 30-year story of the IVAM’ 1 November 2019
  • Cover Story—October 2019: Mercedes Azpilicueta in Helsinki 1 October 2019
  • Cover Story—September 2019: ‘Polperro to Detroit’ 4 September 2019
  • Cover Story—Summer 2019: Francesc Ruiz’s Brexit Bristol sequel, ten years ago 1 July 2019
  • Cover Story—June 2019: Thinking like a drainage basin: Lara Almarcegui’s ‘Concrete’ 1 June 2019
  • Cover Story—May 2019: Buenos Aires in Parallel 1 May 2019
  • Cover Story—March-April 2019: "Icelandic refraction" 3 March 2019
  • Cover Story—February 2019: Schizophrenic Machine (1 February 2019)
  • Cover Story—January 2019: “Seesaw” (7 January 2019)
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Tenth episode of ‘Incidents (of Travel)’ – Dispatch by Catalina Lozano and Daniel Steegmann Mangrané from Rio de Janeiro

http://incidents.kadist.org
 
A new episode of ‘Incidents (of Travel)’ is now available on http://incidents.kadist.org — an online project produced by KADIST and edited by Latitudes exploring the chartered itinerary as a format of artistic encounter and an extended offline conversation between curator/s and artist/s.
 

The tenth dispatch begins with an itinerary proposed by Barcelona-born, Rio de Janeiro-based artist Daniel Steegmann Mangrané and is followed by images and videos recording a day roaming Rio's natural and artistic landscapes with Bogotá-born, Mexico City-based curator Catalina Lozano, who narrates their day spent together.

The site has been redesigned to present one continuous immersive read interwoven with vertical videos and images in a new mobile-friendly format.






Incidents (of Travel)’ was conceived by Latitudes in 2012 with 5 day-long artist-led tours around Mexico City presented as part of a short residency and exhibition on Latitudes’ practice at Casa del Lago. The project had sequels in 2013 in Hong Kong with online dispatches published live via social media platforms, and in San Francisco in 2015 with daily posts as part of Kadist's Instagram take over “Artist Not In The Studio Curator Not At The Office”.

In 2016 Kadist and Latitudes partnered in a new ‘distributed’ phase of ‘Incidents (of Travel)’ extending the invitation to curators and artists working around the world, and publishing their dispatches as an Online Project.

Conversations have taken place in Reykjavík (Iceland), Buenos Aires (Argentina), Hobart (Tasmania), Yerevan (Armenia), Terengganu (Malaysia), Lisbon (Portugal), Suzhou (China), Jinja (Uganda) and Chicago (US). 


The first dispatch launched in April 2016 with an itinerary by curator Yesomi Umolu and artist Harold Mendez from Chicago – a day photographed by Nabiha Khan


The second dispatch came from Jinja in Uganda, where curator Moses Serubiri invited photographer Mohsen Taha to explore Jinja's Indian architectural legacy and Idi Amin's notorious expulsion of Uganda's Asian minority in 1972.


The third episode took place while curator Yu Ji and poet Xiao Kaiyu hiked on Dong Shan (East Mountain), 130 km west of Shanghai, on a peninsula stretching into Tai Hu lake near the city of Suzhou, China.


The fourth dispatch came from Lisbon, where Galician curator Pedro de Llano visited key locations that marked the life and work of Luisa Cunha.


The fifth episode took place in April 2016, when curator Simon Soon and artist chi too visited the Malaysian North Eastern state of Terengganu, where chi spent some time in 2013, surrounded by "men and women who work(ed) multiple jobs as a fishermen, housebuilders, boat builders, farmers, coconut pickers, food producers, and everything else that matters." 


The sixth episode narrates a walking itinerary conducted by curator Marianna Hovhannisyan with Vardan Kilichyan, Gohar Hosyan, and Anaida Verdyan in Yerevan, the capital of Armenia, documenting the transformed, disappeared, or permanently-closed art institutions in the city centre.


The seventh episode comes from Hobart, capital of Tasmania. It is narrated by curator Camila Marambio, following an itinerary devised by artist Lucy Bleach. They spent the day "encircling the outer limits of human understanding by visiting the histories, both past, and present, of attempts to reach beyond our sensory capacities through governance, technology, and reverie", and ended the day cooking at Lucy's home-sharing their mutual love for quinces.


In the eighth 'Incidents (of Travel)' dispatch Móvil co-founder and curator Alejandra Aguado followed the itinerary devised by the artist Diego Bianchi around Buenos Aires, Argentina. 

Their exploration took them from the self-regulated community Velatropa to the buzzing commercial area of Once, identifying human and non-human flows and interactions. This became an entry point for discussing Bianchi's interests in how, as consumers, we define a particular zeitgeist and appropriate trends that enable us to affirm our identities.

In the ninth dispatch, Canadian curator Becky Forsythe and Icelandic artist Þorgerður Ólafsdóttir navigate Reykjavík's surroundings considering Þorgerður's “current interest in Icelandic Spar (a form of transparent calcite), its double refraction and light-polarizing properties. In a race with daylight, they travel between sites, collecting moments and considering the ways in which geologic time surfaces in the context of human time.”


RELATED CONTENT:
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Exposición de Joan Morey ‘COLAPSO. Máquina célibe’ en el Casal Solleric, Palma de Mallorca, 31 enero–3 mayo 2020

Joan Morey, ‘COS SOCIAL. Lliçó d'anatomia’ (2017), film, 50 minutos. Obra producida por la Red de Centros de Artes Visuales de Cataluña, Arts Santa Mònica, Departament de Cultura de la Generalitat de Catalunya y LOOP Barcelona, con la colaboración de la Real Academia de Medicina de Cataluña y Hangar Centro de Producción e Investigación de Artes Visuales (Barcelona). Cortesía del artista.

A partir del 31 de enero 2020, Casal Solleric en Palma de Mallorca acogerá la primera retrospectiva de Joan Morey (Sant Llorenç des Cardassar, 1972) en su Mallorca natal. La exposición ‘COLAPSO. Máquina célibe’ es una adaptación del proyecto que el artista presentó simutáneamente en tres sedes de la ciudad condal entre septiembre 2018 y enero 2019 [1] y se podrá visitar hasta el 3 de mayo 2020.

Las majestuosas salas dieciochescas de la planta noble y el patio columnado del Casal Solleric acogerán una selección de seis proyectos producidos entre 2007 y 2017 desarrollados mediante el lenguaje artístico de la performance, así como un programa continuado de ocho piezas de audio: grabaciones de lecturas dramatizadas realizadas en vivo en el marco de performances o bien utilizadas como bandas sonoras de exposiciones previas.  


Joan Morey, COS SOCIAL. Lliçó d'anatomia (2017), film, 50 minutos. Obra producida por la Red de Centros de Artes Visuales de Cataluña, Arts Santa Mònica, Departament de Cultura de la Generalitat de Catalunya y LOOP Barcelona, con la colaboración de la Real Academia de Medicina de Cataluña y Hangar Centro de Producción e Investigación de Artes Visuales (Barcelona). Cortesía del artista.

Joan Morey ha producido un extenso conjunto de performances, vídeos, instalaciones y obras sonoras y gráficas que, desde finales de los años noventa, explora la intersección entre teatro, cine, filosofía, sexualidad y subjetividad. 

Su práctica aúna tres géneros fundamentales del arte contemporáneo: la performance (a través de escenarios que se desarrollan en el tiempo, en los que habitualmente participan cuerpos humanos y el propio público), la apropiación (tomando y reformulando textos, formas y estilos ya existentes, ya sea de fuentes literarias, clásicas o de la subcultura) y la crítica institucional (con la que examina y aborda las ideologías y el poder de nuestras instituciones sociales, culturales y políticas).

Joan Morey, ‘POSTMORTEM. Pour en finir avec le jugement de Dieu’ (2006–2007). Reenactment de fragmento de performance, exposición ‘COLAPSO. Máquina deseante, máquina de trabajo’ (2018–19), Centre d'Art Contemporani de Barcelona - Fabra i Coats, 27 septiembre 2018. Foto: Noemi Jariod. Cortesía del artista.

Joan Morey, ‘LLETANIA APÒRIMA’ (2009). Reenactment de fragmento de performance, exposición ‘COLAPSO. Máquina deseante, máquina de trabajo’ (2018–19), Centre d'Art Contemporani de Barcelona - Fabra i Coats, 11 octubre 2018. Foto: Noemi Jariod. Cortesía del artista.
 
Joan Morey, ‘GRITOS Y SUSURROS. Conflicte dramatic cinquè (ambos l’obra d’art)’, 2009. Inter by Carme Callol and Tatin Revenga. Reenactment de fragmento de performance, exposición ‘COLAPSO. Máquina deseante, máquina de trabajo’ (2018–19), Centre d'Art Contemporani de Barcelona - Fabra i Coats, 25 octubre 2018. Foto: Noemi Jariod. Cortesía del artista.
 
Joan Morey, ‘BAREBACK. Fenomenología de la comunión’ Reenactment de performance, exposición ‘COLAPSO. Máquina deseante, máquina de trabajo’ (2018–19), Centre d'Art Contemporani de Barcelona - Fabra i Coats, 15 noviembre 2018. Foto: Noemi Jariod. Cortesía del artista.
 
Joan Morey, ‘IL LINGUAGGIO DEL CORPO’, 2015. Reenactment de fragmento de performance, exposición ‘COLAPSO. Máquina deseante, máquina de trabajo’ (2018–19), Centre d'Art Contemporani de Barcelona - Fabra i Coats, 29 noviembre 2018. Foto: Noemi Jariod. Cortesía del artista.
 
Joan Morey, ‘TOUR DE FORCE. El cos utòpic’ (2017). Reenactment de fragmento de performance, exposición ‘COLAPSO. Máquina deseante, máquina de trabajo’ (2018–19), Centre d'Art Contemporani de Barcelona - Fabra i Coats, 13 diciembre 2018. Foto: Noemi Jariod. Cortesía del artista.
 

Joan Morey, ‘COLAPSO. Máquina esquizofrénica’ nueva performance site-specific, prisión la Modelo, Barcelona, 10 enero 2019. Foto: Noemí Jariod. Cortesía del artista.

El recorrido se inicia con uno de sus más recientes trabajos: la “performance para pantalla” ‘COS SOCIAL. Lliçó d'anatomia’ (2017), que actúa como eje conceptual de la exposición, y que obtuvo el Premio de Videocreación de la Xarxa de Centres d’Arts Visuals de Catalunya, Arts Santa Mònica, el Departamento de Cultura de la Generalitat de Catalunya y LOOP Barcelona. Ésta y la performance ‘TOUR DE FORCE’ (2017), también incluída en la exposición, le valieron el Premi Ciutat de Barcelona d'Arts Visuals 2017.

La exposición ‘COLAPSO. Máquina célibe’ en Casal Solleric está comisariada por Latitudes y producida por la Dirección General de Artes Visuales de la Concejalía de Cultura y Bienestar Social del Ajuntament de Palma, con el apoyo del Centre d'Art Contemporani de Barcelona - Fabra i Coats, la Xarxa de Centres d'Arts Visuals de Catalunya, Arts Santa Mònica, el Departament de Cultura de la Generalitat de Catalunya y LOOP Barcelona.


[1] ‘COLAPSO. Máquina deseante, máquina de trabajo’, Centre d’Art Contemporani de Barcelona - Fabra i Coats (del 20 de septiembre de 2018 al 13 de enero de 2019); ‘COLAPSO. Cuerpo social’, Centro de Arte Tecla Sala (L’Hospitalet de Llobregat, del 15 de noviembre de 2018 al 13 de enero de 2019), y ‘COLAPSO. Máquina esquizofrénica’, en la antigua cárcel Modelo (Barcelona, 10 de enero de 2019).

CONTENIDOS RELACIONADOS:

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Cover Story—January 2020: Safeguarding Gestures

Latitudes' homepage www.lttds.org

The January 2020 monthly Cover Story ‘Safeguarding Gestures’ homepage: www.lttds.org

‘‘‘Poems for Earthlings’, by Argentinian artist Adrián Villar Rojas, transforms the Oude Kerk, a monumental church in the heart of the Amsterdam’s Red-light District which dates back to 1306. Unveiled during the Amsterdam Art Weekend two months ago and continuing until April, Villar Rojas’s installation features in the recent art-agenda Roundup from the city by Latitudes' Mariana Cánepa Luna.”
 

Continue reading
→ After January 2020, this story will be archived here.

Cover Stories' are published on a monthly basis on Latitudes' homepage featuring past, present or forthcoming projects, research, texts, artworks, exhibitions, films, objects or field trips related to our curatorial activities.

 

RELATED CONTENTS
  • Archive of Monthly Cover Stories
  • Cover Story—December 2019: Cover Story—December 2019: Curating in the Web of Life 3 December
  • Cover Story—November 2019: ‘Fighting fires in Valencia: the 30-year story of the IVAM’ 1 November 2019
  • Cover Story—October 2019: Mercedes Azpilicueta in Helsinki 1 October 2019
  • Cover Story—September 2019: ‘Polperro to Detroit’ 4 September 2019
  • Cover Story—Summer 2019: Francesc Ruiz’s Brexit Bristol sequel, ten years ago 1 July 2019
  • Cover Story—June 2019: Thinking like a drainage basin: Lara Almarcegui’s ‘Concrete’ 1 June 2019
  • Cover Story—May 2019: Buenos Aires in Parallel 1 May 2019
  • Cover Story—March-April 2019: "Icelandic refraction" 3 March 2019
  • Cover Story—February 2019: Schizophrenic Machine (1 February 2019)
  • Cover Story—January 2019: “Seesaw” (7 January 2019)
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2019 in 10 monthly Cover Stories

Since our 10th anniversary in Spring 2015, Latitudes has published a monthly cover story on its website (www.lttds.org) featuring past, present or forthcoming projects, as well as research, texts, artworks, exhibitions, films, objects or travel related to our curatorial work.  

2019 has been an active year of field trips. We have been lucky to visit ARCOmadrid, Buenos Aires (May 2019), Valencia (to research for an article and to participate in a conversation), Devon and Cornwall (September 2019), to Chicago and Detroit (hinted at in the September 2019 Cover Story), Helsinki (October 2019), Bilbao, Moscow (December 2019) and Amsterdam (and Reykjavík from the screen as featured in the April-May cover story).

Happy holidays and a joyful 2020!

Cover Story—December 2019: Curating and the Web of Life.
Cover Story—November 2019: ‘Fighting fires in Valencia: the 30-year story of the IVAM’.
Cover Story—October 2019: Mercedes Azpilicueta in Helsinki.
 Cover Story—September 2019: ‘Polperro to Detroit’
Cover Story—Summer 2019: Francesc Ruiz’s Brexit Bristol sequel, ten years ago.
Cover Story—June 2019: ‘Thinking like a drainage basin: Lara Almarcegui’s ‘Concrete’.
Cover Story—May 2019: Buenos Aires in Parallel.
Cover StoryMarch-April 2019: Icelandic refraction.
Cover StoryFebruary 2019: Schizophrenic Machine.
Cover Story—January 2019: "Seesaw".


RELATED CONTENT:
  • Cover Story—December 2018: "Treasures! exhibitionism! showmanship!" 1 December 2018
  • Cover Story—November 2018: "Joan Morey—postmortem judgement reenactment" 1 November 2018
  • Cover Story–October 2018: "I can’t take my eyes off you: Eulàlia Rovira and Adrian Schindler" 1 October 2018
  • Cover Story–September 2018: Harald Szeemann’s travel sculpture, 10 September 2018
  • Cover Story–August 2018: Askeaton Joyride, 2 August 2018
  • Cover Story–July 2018: No Burgers for Sale 2 July 2018
  • Cover Story—June 2018: Near-Future Artworlds Curatorial Disruption Foresight Group, 4 June 2018
  • Cover Story – May 2018: Shadowing Roman Ondák, 7 May 2018 
  • Cover Story – April 2018: "Cover Story—April 2018: Dates, 700 BC to the present: Michael Rakowitz" 3 April 2018 
  • Cover Story – March 2018: "Armenia's ghost galleries" 6 March 2018 
  • Cover Story – February 2018: Paradise, promises and perplexities 5 February 2018 
  • Cover Story – January 2018: I'll be there for you, 2 January 2018 
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Mariana Cánepa Luna's Amsterdam Roundup for art-agenda.com

https://www.art-agenda.com/features/306593/amsterdam-roundup
“Many cities have adopted the gallery weekend format, and while there is a risk that this proliferation can lead to homogeneity, the particular strength and energy of Amsterdam Art Weekend lies in its steadfast commitment to art and artists, and to not limiting its remit to the commercial sector. Now in its eighth edition, the event grew out of the Rijksakademie Open, the yearly open studio presentations by the forty-plus artists in the institution’s two-year postgraduate residency program.”

Continue reading. 

Originally published in art-agenda on December 13, 2019.

Below a broader selection of images from the exhibitions and events mentioned in the review, as well as others that couldn't fit in the 1,000-word review, such as Andrei Tarkovski’s exhibition at the Eye Filmmuseum, AKINCI’s group exhibition, Rozenstraat — a rose is a rose is a rose, more Rijksakademie artists’ studios and a short visit to Rotterdam's Witte de With and the new space of Wilfried Lentz in the Port. 

 (Above and below) Adrián Villar Rojas, “Poems for Earthlings”, 2019. Courtesy of the artist and Oude Kerk, Amsterdam. All photos by Mariana Cánepa Luna (unless otherwise specified in the photo caption).
Adrián Villar Rojas, “Poems for Earthlings”, 2019. Courtesy of the artist and Oude Kerk, Amsterdam. Photo: Jörg Baumann. 
Adrián Villar Rojas, “Poems for Earthlings”, 2019. Courtesy of the artist and Oude Kerk, Amsterdam. Photo: Jörg Baumann. 
  (Above and below) Carlos Amorales, ‘Orgy of Narcissus’, 2019. Courtesy of the artist, kurimanzutto, Mexico City / New York, and Nils Stærk Gallery. These works were developed in collaboration with the TextielLab, the professional workshop of the TextielMuseum.
 Carlos Amorales during the press tour presenting ‘Life In The Folds’ a work produced for the Pavilion of Mexico at the 57th Venice Biennale in 2017.
 Carlos Amorales, Black Cloud, 2007 (installation view). Collection of Diane and Bruce Halle.
 Carlos Amorales, Aprende a joderte (Learn to Fuck Yourself), 2019. Courtesy of the artist and kurimanzutto, Mexico City / New York. 
  (Above and below) Patricia Kaersenhout, ‘Guess Who's Coming To Dinner Too?’, 2019, installation view, De Appel, Amsterdam.

(Above and below) Installation view of Andrei Tarkovski at the Eye Filmmuseum presented an interesting curatorial challenge: how to translate the oeuvre of a filmmaker into an exhibition. In the case of Tarkovski, his limited filmography (8 feature films, plus 3 short films) reduces the challenge considerably, yet the decision of screening 20-minute clips from each film and splitting those clips on two or three large screens simultaneously raises further artistic questions—how far can the immersive experience be stretched? Tarkovski’s unique imagery and tempo multiply throughout the exhibition space far from the durational, one-image-at-a-time consumption offered by the cinematic experience (not to mention the cacophony, which must be said, was reduced here thanks to state-of-the-art hovering speakers above visitor seats). The second challenge has to do with the institutional programme. The next exhibition at the Eye Filmmuseum will be dedicated to (yet another man) Belgium-born, Mexico-based visual artist Francis Alÿs, and in March 2020 to Chantal Ackerman, the Belgian avant-garde filmmaker who passed away in 2015. This will be the first institutional solo exhibition dedicated to a woman since the museum opened in 2012, which is quite eye-opening (intended pun) and significant in the context of the low number of institutions programming female artists solos — yet it's also important to take into consideration the larger picture of female representation in the filmmaking industry.
 Sander Breure & Witte van Hulzen, "Accidents Waiting to Happen", installation, sculpture, video, performance, 2019. Prix de Rome 2019. Courtesy tegenboschvanvreden, Amsterdam.
Femke Herregraven, "Diving Reflex (Because We Learned Not to Drown, We Can Sing)", multimedia installation, 2019-ongoing. Prix de Rome 2019.
Esiri Erheriene-Essi, "The Inheritance" (or Familiar Strangers), 2019. Prix de Rome 2019.
Rory Pilgrim, "The Undercurrent", multimedia installation, 2019-ongoing. Prix de Rome 2019. Courtesy the artist and andriesse eyck galerie. Pilgrim's film received the Prix de Rome Visual Arts 2019 award for his work, receiving 40,000 euros and a residency at the American Academy in Rome.

 Studio by Shahidul Zaman during the RijksakademieOPEN 2019.
  Studio by Christopher Manon during the RijksakademieOPEN 2019.
  Studio by Jude Crilli during the RijksakademieOPEN 2019.
 Studio by Aldo Esparza Ramos during the RijksakademieOPEN 2019.
Studio by Artor Jesus Inkerö during the RijksakademieOPEN 2019.
Studio by Catalina González during the RijksakademieOPEN 2019.
Studio by Catalina González during the RijksakademieOPEN 2019.
Studio by Salim Bayri during the RijksakademieOPEN 2019.
Remco Torenbosch “Now” (2019), video, 180min, during the RijksakademieOPEN 2019.
 Studio by Antonio Vega Macotela during the RijksakademieOPEN 2019. 

Studio by Anderu Immaculate Mali during the RijksakademieOPEN 2019.
Studio by Dan Zhu during the RijksakademieOPEN 2019.

Studio by Lotte van Geijn during the RijksakademieOPEN 2019.

Studio by Özgür Atlagan during the RijksakademieOPEN 2019.
Studio by Arturo Kameya during the RijksakademieOPEN 2019.
  (Above and below) Claudia Martínez Ayala solo show ‘A las revoluciones, como a los árboles, se les reconoce por sus frutos’ [Revolutions, like trees, are recognized by their fruits], 2019, installation view, Courtesy the artist and GRIMM Amsterdam | New York.
Rozenstraat – a rose is a rose is a rose presented the multichannel video-installation “Beyond Index” (2017) by Dutch artist Gerald van der Kaap.

LA-artist Matthew Monahan at Fons Welters, Amsterdam.

Day trip to nearby Rotterdam to visit three unique solo shows at Witte de With, by Rossella Biscotti (above and two below).


(Above) Alejandro Cesarco and Cecilia Vicuña (below)


(Above and below) Also had a chance to visit the new venue of Wilfried Lentz in the Port area, next door to Atelier van Lieshout studio, which had a solo show of James Beckett.


(Above and below) Back in Amsterdam, kunstverein’s presented ‘Who's Werner?’ a group exhibition concerned with recognised authorship in collaborative artistic practices.


Next door, Martin van Zomeren presented a solo show of Marcel van Eeden.

Tahmina Negmat at Althuis Hofland.
Charbel-joseph H Boutros and Stéphanie Saadé at rongwrong.


Maarten Vanden Eynde's work at Cargo in Context, part of the group show "On-Trade-Off: The Weight of Wonders", an artistic trajectory initiated by the artists' initiatives Picha (DRC) and Enough Room for Space (BE).

And last but not least, the solo show presenting a site-specific sculpture by Belgian artist Leyla Aydoslu at P/////AKT.

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